AustLit logo
Blue Hills : 21 single work   poetry   "Out at the twelve-mile mark"
  • Author:agent Laurie Duggan http://www.poetrylibrary.edu.au/poets/duggan-laurie
Issue Details: First known date: 1990... 1990 Blue Hills : 21
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Notes:
Minor title variations appear in some texts
  • Appears in:
    y separately published work icon Blue Notes Laurie Duggan , Chippendale : Picador , 1990 Z410331 1990 selected work poetry Poems are grouped into four sections: All Blues, Trans-Europe Express, Dogs and More Blues. Chippendale : Picador , 1990 pg. 77
  • Appears in:
    y separately published work icon Overland no. 119 Winter 1990 Z610012 1990 periodical issue 1990 pg. 49
  • Appears in:
    y separately published work icon The Home Paddock : Blue Hills 21-35 Laurie Duggan , St Kilda : Noone's Press , 1991 Z378803 1991 selected work poetry St Kilda : Noone's Press , 1991 pg. 1
  • Appears in:
    y separately published work icon New and Selected Poems 1971-1993 Laurie Duggan , St Lucia : University of Queensland Press , 1996 Z125172 1996 selected work poetry St Lucia : University of Queensland Press , 1996 pg. 158
  • Appears in:
    y separately published work icon The Oxford Book of Modern Australian Verse Peter Porter (editor), South Melbourne : Oxford University Press , 1996 Z397894 1996 anthology poetry extract South Melbourne : Oxford University Press , 1996 pg. 211
  • Appears in:
    y separately published work icon Jacket no. 27 April 2005 Z1215782 2005 periodical issue 2005
Alternative title: 蓝丘(二十一)
First line of verse: "Out at the twelve-mile mark=在十二里的标志之外"
Language: English , Chinese

Works about this Work

‘A Homemade World’ : On the Dandenong Line Laurie Duggan , 2018 single work prose
— Appears in: Cordite Poetry Review , 1 February no. 84 2018;

'Sometime in 1953 my parents bought a house in Clayton (Victoria, Australia), then on the edge of south-east Melbourne. We moved there from a decidedly different environment: the guest house that my Grandmother owned. This was on Beaconsfield Parade in South Melbourne. In those years that suburb was largely working class with connections to the Port Melbourne wharf and the further dockside territory along the Yarra River. This guesthouse and the country around Ensay in the Tambo valley of East Gippsland where my father was born were ghost presences as I was growing up – imaginaries of an existence I might have had (urban / rural). We would visit my uncle and aunt in Ensay (travelling by train and bus until around 1960 when we finally owned a car) and we would venture into the inner suburbs occasionally where I would get to look at the ‘slums’. I’m not sure what significance these places had for my parents or even why they wanted to take me there. It could have been as a ‘this could have happened to you’ lesson, though I suspect this was not the case. The places we visited may have had more of an affirming effect for my parents. For me, the inner suburbs were simply ‘picturesque’. In art classes at Huntingdale High School I would often draw or paint decaying buildings from the images I had taken on my box Brownie camera. These were sketchy romantic visions lifted probably from the work of Sydney artists like Sali Herman or Donald Friend (encountered in the library rather than the art gallery).'  (Introduction)

‘A Homemade World’ : On the Dandenong Line Laurie Duggan , 2018 single work prose
— Appears in: Cordite Poetry Review , 1 February no. 84 2018;

'Sometime in 1953 my parents bought a house in Clayton (Victoria, Australia), then on the edge of south-east Melbourne. We moved there from a decidedly different environment: the guest house that my Grandmother owned. This was on Beaconsfield Parade in South Melbourne. In those years that suburb was largely working class with connections to the Port Melbourne wharf and the further dockside territory along the Yarra River. This guesthouse and the country around Ensay in the Tambo valley of East Gippsland where my father was born were ghost presences as I was growing up – imaginaries of an existence I might have had (urban / rural). We would visit my uncle and aunt in Ensay (travelling by train and bus until around 1960 when we finally owned a car) and we would venture into the inner suburbs occasionally where I would get to look at the ‘slums’. I’m not sure what significance these places had for my parents or even why they wanted to take me there. It could have been as a ‘this could have happened to you’ lesson, though I suspect this was not the case. The places we visited may have had more of an affirming effect for my parents. For me, the inner suburbs were simply ‘picturesque’. In art classes at Huntingdale High School I would often draw or paint decaying buildings from the images I had taken on my box Brownie camera. These were sketchy romantic visions lifted probably from the work of Sydney artists like Sali Herman or Donald Friend (encountered in the library rather than the art gallery).'  (Introduction)

Last amended 5 Oct 2012 09:45:01
Subjects:
  • Rural,
Newspapers:
    Powered by Trove
    X